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The Roberto Polo Collection. Centre for Modern and Contemporary Art of Castile-La Mancha

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The Roberto Polo Collection. Centre for Modern and Contemporary Art of Castile-La Mancha THE ROBERTO POLO COLLECTION. CENTRE FOR MODERN AND CONTEMPORARY ART OF CASTILE-LA MANCHA TOLEDO – CUENCA SIXTH FORM LEVEL: AGES 16–18 LEARNING GUIDE Paul Manes, The Dark Night (formerly called In the Heat of the Night), 2008, oil on canvas The Roberto Polo Collection. Centre for Modern and Contemporary Art of Castile-La Mancha is a new museum created by the Government of this Autonomous Community to house the artworks that form the first assignment – some 500 works – by the Cuban-American art collector Roberto Polo. It is one of the few museums in the world created by a government to house a private collection. Inaugurated on 27 March 2019, it is administered by the Roberto Polo Collection Foundation, a public interest entity. The Collection brings together works by 171 artists, many of whom are notable for being ahead of their time and heralding long in advance the rise of modern art with its revolutions and diverse trends. It begins with 20th-century works that provide clues to what is to come and, through an extraordinary selection of the historical avant-gardes of Northern, Central and Eastern Europe, demonstrates a chapter in the history of art that, up to now, had been little represented in Spanish museums. It ends with a wide-ranging exhibition of work produced by contemporary artists from Europe and the United States. And, mindful of the educational role incumbent on it as a museum, the Collection presents a large number of artists’ names that, though less familiar, are neverthelessfundamentally important. Museum entrance hall: in the foreground, Woman, a sculpture by Annabelle Hyvrier; in the background, information panels and restored Islamic arches THE CITIES The two cities in our Community chosen to house the Roberto Polo Collection – Toledo and Cuenca – both of which enjoy UNESCO World Heritage status because of their historical legacy – now boast a modern heritage too. These are two ancient cities in which the impact of the new will create a dialogue with modernity that will have interesting results, and this will be underpinned by temporary exhibitions, publications, and complementary activities to promote the project and its contents as widely as possible. THE BUILDING The building that houses the permanent collection in Toledo is the former convent of Santa Fe, which has been declared a National Monument. Constructed between the 9th and 18th centuries, it forms part of the present-day Miradero complex which occupies one of the city’s most strategic positions and is associated with important figures from Spain’s historical past. Building began in the 9th century on a former Visigoth settlement; it later became the residence of the first members of the Arab aristocracy; this caliphal palatine complex went on to form the basis of the palace of the Taifa kingdom of Toledo, acclaimed in numerous accounts by courtiers and travellers of the time for the lavish feasts and celebrations held by the royal family in its splendid rooms and gardens. Originally dating from this period, the unusual Belén Chapel – once an Islamic prayer hall, or qubba – has been preserved; excavations have also uncovered various other remains, and these have now been seamlessly integrated into the new museum, helping us to understand more of the building’s long and complex evolution. Façade of the CORPO museum showing the sculptural group Battle Figures by Miquel Navarro After the reconquest of Toledo in the late 11th century, the building became the residence of kings, including Alfonso X (known as the Wise). From the 13th century, various religious orders occupied part of the building; however, its medieval features have been lost due to work carried out from the 15th century onwards. The Spanish Ministry of Education and Culture restored the building between 2000 and 2003; since then, new and important work has been carried out by the Spanish Institute of Historical Patrimony – this includes the restoration and consolidation of the historical remains of the building – thus preserving this extraordinary building that has so much to tell us about the history of Toledo and its people. ROBERTO POLO Roberto Polo was born in Havana, Cuba, in 1951. In 1961 he immigrated with his family to the United States where he studied fine art, philosophy and history of art at the American University in Washington, D.C., and at Columbia University, New York. He worked as a gallery director and art investment advisor and built up his own collection while living in international art centres such as New York, Paris and Brussels, amassing works from across four centuries of art – from the 17th to the 21st century. Portrait of Roberto Polo by Jan Vanriet, 2014, oil on canvas, in the museum entrance Roberto Polo became known as ‘The Eye’ because of his ability to focus not only on artists already recognised in the history of art but also on more unusual figures, less prominent in the discourse of art but who are now being appreciated by art professionals. As he himself has explained, what distinguishes him is his ability to identify art movements and acquire works of art that were ground-breaking at the time but were then forgotten. Eclectic and both an artist and art historian, Roberto Polo is passionate about fine art, decorative art, music and literature, and about ancient, modern and contemporary art. He is an exceptional figure in terms of his knowledge and his activities and is also a renowned patron of the arts, having gifted works to museums such as the Metropolitan Museum of Art in New York, the Louvre in Paris, the Victoria and Albert Museum in London, the Royal Museums of Fine Arts of Belgium and the Victor Horta Museum in Brussels. He has received many awards and honours, notably Commander of the Order of Arts and Letters of the French Republic (1988) and the Spanish arts patronage awards Premio Capital Arte al Mecenazgo Internacional (Madrid, 2016) and Premio Fuera de Serie, Personaje del Año, categoría Filantropía (Madrid, 2017). COLLECTORS AND DONORS Sometimes, an art collector decides to bequeath, donate or assign artworks for the benefit of a public institution – or even to create one – and in so doing to give something to the whole community. This was how certain outstanding museums – like those founded by Frick, Wallace, Morgan, Stewart Gardner, Gulbenkian, Guggenheim and many others – came into being, all of which, quite rightly, bear the name of their creator. This happened particularly in the United States where, despite the prevailing capitalism, it became traditional to give back to the community some of what had been received from it. It is a tradition that Roberto Polo – the latest in this list of treasure seekers – is keen to continue: it is this that ‘makes one great’, he explains. Polo has impressive models from the past to follow. However, unlike most of them, he has decided not to wait until after his death but to demonstrate this generosity during his lifetime and has begun the process of assigning artworks now, although he still has many years in which to go on enjoying this `family´ of his. THE COLLECTION The museum’s permanent Collection, made up of internationally recognised artworks, includes artists who represent the historical avant-gardes of Northern, Central and Eastern Europe, together with a wide selection of pieces by contemporary artists from Europe and the United States. It boasts outstanding names like Kandinsky, El Lissitzky, Schmidt-Rottluff, Pechstein, Schlemmer, Schwitters, Moholy-Nagy and Max Ernst. But what interests Roberto Polo is creating a museum of modern and contemporary art that is rooted in the past and in history, which traces the evolutionary paths of art, yet also introduces new ideas and draws attention to highly significant artists unfairly passed over, such as the pioneers of abstraction and of various currents of modernity in the Low Countries like Joostens, Donas, Peeters, Flouquet, Servranckx, Maes and Eemans. Hermann Max Pechstein, Portrait of Charlotte Kaprolat, c. 1909, oil on linen Visitors to the Polo Collection in Toledo and Cuenca should therefore come prepared to be surprised and challenged by the re-examination of the discourses of modern and contemporary art that the Collection demands. ‘This museum is not going to sing the same song,’ Roberto Polo assures us. ‘This is not another clone museum concerned solely with what’s fashionable, not with artistic value, where visitors already know what they are going to see.’ For Polo, this project is the culmination of a ‘marvellous dream’ to create a museum in the country where his forefathers were born. 1. THE BEGINNINGS OF MODERN ART: THE 19TH CENTURY By way of introduction to modernity, this section of the museum includes a number of relevant artists, most of them French – like Delacroix, Daumier, Degas, Moreau, Gervex and Cross – but also the English painter Dante Gabriel Rossetti and the Hungarian Rippl-Ronai. Alongside paintings of landscapes and figures, the dominant theme reveals Roberto Polo’s interest in scenes of everyday life: genre painting is juxtaposed with the great narratives normally associated with history painting because at this period all themes began to enjoy equal status and this heralded the advent of modern art. Honoré Daumier, Lawyers Conversing or Two lawyers, 1860s, oil on board Honoré Daumier became known for the drawings and engravings in which he satirises the French politics and society of the time. Henri-Edmond Cross adopted pointillism, the technique made famous by Seurat and Signac and one of the principal techniques of Post-Impressionism; he would later cultivate a style that became instrumental in the formation of Fauvism. View of Gravelines (North), Seen from Grand-Fort-Philippe, pointillist oil painting by Henri- Edmond Cross, c.
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